summilux.net

Remarquable entretien avec JWD et ses leicas.

De la mode au Japon, à la Chine, à l'Afghanistan; en Noir et Blanc.

http://rawtake.net/2008/05/19/james-whitlow-delano/

Merci Danyves, James est vraiment intéressant.

Bonsoir,

A partir du site de James:

histoires/archives

Oui, travail de fond avec la plus grande économie de moyens pour dire et signifier ldes choses importantes et graves.

Vraiment bien.
Je serai curieux de savoir avec quelles optiques, il travaille, de plus j'aime bien le rendu de ses photos.

http://wayneyang.wordpress.com/2006/06/ ... interview/

Mon sentiment, 35mm et 50mm, M2 et M4-P sauf contraire.

Wayne: You are known for traveling light. On the camera equipment side, you’re said to often carry only a Leica body and a single lens. How true is that, and how and why did you come to work in this way?

James: I carry two Leica bodies and film. That is enough weight! I need to be able to move to work. Life moves too quickly to worry about several cameras hanging around my neck. I rarely carry the two bodies at the same time. One body is for 400 film and the other for 3,200 film at night. So, at any one time I carry one camera, as I always have in Asia.

Correction : 2 M2s et 2 35mm

http://www.digitaljournalist.org/issue0 ... -lens.html

Much as a poet finds and polishes his voice, Delano has found and polished his singular lens. "I have two Leica M-2s and two 35mm f2 lenses. They are likely older than me," he told News Photographer. "One lens means speed. Very simple operations. That is critical. If you miss the moment, you cannot get it back. I shoot exclusively with Leica. On the few occasions that I have used a Hasselblad, which is a wonderful camera, I feel like I am driving a Mack truck. But the Leica makes the work possible. You can suggest the energy rippling just below the surface."

The absence of an overstuffed camera bag filled with the latest, greatest gadgets is not only evidence of an artist with a clear vision who has found and mastered his essential tools, it's also a reflection of his intent. "Early on, I had just one lens and two bodies," he says. "I dumped all my money into getting to places as far off the beaten track as possible. So, it was a trade-off."

The trade-off had a pay-off. It succeeded in taking him from college in Colorado to New York City and Los Angeles, where he became a professional assistant to some of the biggest names in photography, on to Italy to Tokyo, and then on to most of the rest of Asia and the remaining world. And through all that, he stayed true to the 35mm lens.

"That modestly wide-angle lens mimics our field of view, and it means that I have to interact with the people I photograph," he says. "There is an interaction. If they do not like what I am doing, they can reach out and grab me. That is the way I like to work."